Saturday 16 March 2019 West Road Concert Hall, Cambridge
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Saturday 16 March 2019 West Road Concert Hall, Cambridge
Saturday 18 May 2019 at 7.30pm
West Road Concert Hall, Cambridge
Piano Concerto No 2
Prelude to a Drama
Ein Heldenleben
“Martin James
Bartlett’s playing
was thrilling.”
Conductor Timothy Redmond The Times
Piano Martin James Bartlett
BBC Young Musician of the Year 2014
Pre-Concert Talk
Solo Violin Paula Muldoon 6.45pm, free
PHOTO © KAUPO KIKKAS
With Timothy Redmond
Cambridge Philharmonic Orchestra
Tickets: reserved £12, £16, £20, £25 (Students and under-18s £10 on the door)
Box Office: 01223 357851 (Cambridge Live) Online: www.cambridgephilharmonic.com
Cambridge Philharmonic presents
Haydn
The Seasons
English translation by Paul McCreesh
Cambridge Philharmonic Orchestra & Chorus
Conductor: Timothy Redmond
Leader: Paula Muldoon
Soprano: Rebecca Bottone
Tenor: James Way
Bass: Milan SiljanovThe Seasons Joseph Haydn (1732-1809)
Background
As all our lives are spent within
the natural cycle of the year, it is
understandable that composers
should be inspired by the seasons
as a theme. Glazunov and
Tchaikovsky wrote works entitled
The Seasons whilst Vivaldi’s Four
Seasons has become one of his
best known works.
These works all convey the
different moods experienced
throughout the year. Glazunov
produced an allegorical ballet
with characters such as Frost;
Tchaikovsky wrote 12 piano
pieces, one for each month
of the year (later arranged for
orchestra); and Vivaldi came up
with four concerti grossi.
Although a narrative aspect is present in all these compositions, Haydn goes
much further, as he uses both words and music in his charming and graphic
portrayal of the four seasons. Haydn wrote The Seasons towards the end of
his life, together with the oratorio The Creation. The Creation has enjoyed
much greater success, however, and much more frequent performances,
appearing regularly in the repertoire of choral societies.
Haydn spent most of his career in the service of the princes of the Esterházy
family, where he was valued for the outstanding originality and beauty of his
works. He was incredibly hard-working and, at the whim of his employers,
spent some time in Vienna, but mostly at their country estates at Eisenstadt
and Esterháza. He was responsible for a band of musicians and was expected
to produce a constant stream of new works. Though his talents were valued
he was never more than a servant to his employers. He seems to have been
somewhat isolated there, physically because of the self-contained community
of the estate, and socially as he ranked below his masters. He had to maintain
decorum as a princely employee, while being expected to keep enoughformality in his relations with the other employed musicians to preserve discipline. In addition to this he was unhappily married to a woman with whom he had nothing in common and with whom he had no children. It was only in later years that he had the opportunity to travel to London, for two extensive periods. Here he was fêted and appreciated, writing some of his best and most original symphonies, and performing in concerts arranged by the impresario violinist Salomon to great acclaim. He was awarded an Oxford doctorate and was entertained and sought after by music enthusiasts amongst the well-off and the nobility. Haydn suddenly found himself no longer treated as a servant but as a valued musician, and during this period he developed many friendships and became rather rich. He later declared that this had been the happiest period of his life. Back in Vienna, in his twilight years, he was comfortably off, although the Napoleonic wars made a worrying backcloth to life at the time. He set about writing The Creation and The Seasons, both of which originated from English texts. Although at different times in his life he had set words to music, Haydn had concentrated on operas, settings of folksongs and masses. This was the first time he had composed something so entirely different. It is known that he had been extremely moved in London by hearing performances of Handel’s Messiah and Israel in Egypt. It is believed that it was there that he was given a libretto originally intended for Handel. This became the text put together for him by Gottfried van Swieten, director of the court library in Vienna, which went on to form the basis for The Creation. First performed in Vienna in 1798, it was a resounding success, and afterwards Haydn set to work on The Seasons. He found this did not go smoothly and it taxed him severely, but it was finally performed in 1801. Whereas the story of The Creation was a well- known subject to audiences, and the storyline is a unified whole, The Seasons is really four separate scenes of rural life. Instead of the three archangels telling the story of creation, there are country folk experiencing the rhythms of rural life. Although The Creation has maintained its popularity The Seasons has, by comparison, been somewhat undeservedly neglected. Describing it as ‘a bit of an unloved child’, musician and conductor Paul McCreesh decided to rectify this and has produced the edition that is being used tonight. First of all he turned to the problem of the text. The original source is actually an English text, The Seasons by Scottish writer James Thomson (1700-48). Gottfried van Swieten translated this into German and then back into somewhat clumsy English. McCreesh decided to produce a new English translation that would
reflect 18th century English. He submitted this to historian Ruth Smith, an expert in this field, who has written extensively about Jennens, Handel’s librettist. She was very encouraging, showing that his feel for 18th century English libretti was well-founded thanks to his familiarity with Handel. McCreesh also wanted to recreate the sort of body of musicians that Haydn would have used. For public performances in Vienna Haydn used a large band of players, asking for instruments to be doubled or at least increased, and suggesting that there should be three wind sections. This would be particularly effective in, for example, the hunting chorus in Part 3. It is, however, possible to perform The Seasons with a normal sized orchestra. The creation story from Genesis provides an ambitious and impressive theme for Haydn’s oratorio The Creation. The Seasons, however, is in essence a rural idyll describing country folk going about their different activities, following the natural calendar, while recognising God’s part in the seasonal cycle. The music is delightful and offers a wealth of treasures for both soloists, chorus and instrumentalists. At no time is the orchestra there as a mere accompaniment to the singers. The orchestral writing is as full of tuneful themes, dramatic effect and instrumental colour as any of Haydn’s symphonies. There are three soloists (Hannah, Simon and Lucas), country people who move the story forward with recitatives and arias. The chorus represents the country folk in general.
PART 1: SPRING After a dramatic and often stern orchestral introduction alternating with gentler themes, the soloists remark that the rigours of winter are being replaced by the messengers of spring. In the orchestra we hear the melting snow turning to torrents. The chorus follows with Come, gentle Spring, a cheerful and lilting 6/8 tune. Simon sings of the jolly farmer, whistling happily as he strides across the furrows and scatters the seed. The simple rustic tune featuring the bassoon is followed by a short quotation from Haydn’s Surprise Symphony. A prayer is offered for the gifts of rain and sunshine, ‘Heaven be gracious’, a dignified plea from soloists and chorus. As the tempo increases the chorus lines become more complex and are backed by an ornate and bubbling orchestration. The prayer is answered and the country folk delight in the ‘charming sights, flowery vales, meadows green’ and again offer praises to God. The exclamation of ‘Wonderful….. bountiful……infinite God’, seems to echo Handel’s Messiah, which Haydn had heard in London. Spring ends with the interweaving lines of the chorus proclaiming ‘Hymns of Praise we sing to Thee’ with the vigorous backing of the full orchestra. PART 2: SUMMER A quiet adagio, full of mystery, portrays the transition from fearful night to daybreak. The countryman salutes the dawn and his daily toils. In a passage reminiscent of The Creation Haydn depicts the sunrise: the vocal and orchestral lines creep ever upward and increase in volume, leading to the hymn of praise ‘Hail, O glorious sun’. The theme expands to include a general glorification of ‘Nature fair’. The soloists tell of the reapers cutting and binding the golden corn as the heat increases. The orchestra seems almost hesitant and limping as the muted strings lead into Lucas’s aria. Nature, man and beast are exhausted and parched, blossoms wilted. However, Hannah has cheer to offer, singing of ‘shady groves, refreshing shade, a bubbling brooklet’, each image accompanied by Haydn’s instrumental word-painting. After the mention of a ‘shepherd’s reed’, the oboe duets with Hannah as she sings that ‘life through every vein is flowing’. There is a forewarning of an approaching storm with a rumble of timpani. The chorus sings ‘Ah! The storm approaches near!’ accompanied by bursts of horns, timpani and crashing chords. The country folk are fearful and, as they comment on the violence of the storm, they cry ‘Save us!’ and ‘Heaven protect us!’ The storm passes and eventide approaches. Little phrases in the orchestra depict quails, crickets, frogs and the toll of the evening curfew. The country folk return to ‘sweet repose’ and all is still.
Interval Part 3: AUTUMN A charming and cheerful melody opens Part 3, as the country folk celebrate the bountiful harvest, the outcome of nature’s blessings and mankind’s toil. Some of the loveliest orchestral writing accompanies the soloists, who sing in praise of ‘noble toil’. The chorus joins in the praise, saying that cottage, garments, produce, indeed every good comes from toil. After a brief mention of the flirting of the village lads and lasses, Lucas sings in praise of the charms of Hannah, a simple country lass. Hannah responds in similar vein, both rejecting ‘fine ladies, mincing dandies, airs and graces’. Love and constancy will stand the test of time: ‘only death this bond can break’. The next episode is introduced by saying that certain animals take a toll of the crops, so the hunt is necessary as well as good sport. Simon describes the hound in pursuit of game, and how the bird is shot, followed by a brief reference to the hunting of the hare. A blare of hunting horns awakens the chorus: ‘Hark, hear the sounds of the chase’. This time it is the pursuit of the stag and the orchestra’s ranks of horn players have a field day, leading the chase thrillingly as the galloping rhythms take off. Whatever present-day audiences feel about the hunt, one is carried along by the excitement and noise of the chase. After this comes the grape harvest and more revelry: ‘Drink up, the wine is here!’ After the drinking, comes the dancing. A lively 6/8 country dance with pipers, drummers, fiddlers and bagpipes strikes up, these instruments being clearly heard in the orchestration, and dancers of all ages join in. It is a Brueghel picture brought to life. It gets more boisterous and the rhythms more angular, with a reminder that the drinking and singing have been going on all the time. Part 4: WINTER The sombre mood of winter opens with an orchestral adagio in C minor. The soloists sing of ‘freezing fogs, barren plains and dusky gloom’. The pictorial details of both words and music continue in this vein, and it seems as though the whole of nature has slowed down. The tempo speeds up as Lucas tells of a wanderer lost in drifting snow as dusk approaches, in despair until he catches sight of a light. When he reaches the house he finds inside a ‘merry gathering’ with people chatting while working at indoor tasks, making baskets
or spinning. There follows a song as the spinning wheel whirrs, a young lass’s
hope for a sweetheart and marriage.
Hannah entertains the young folk with a little ballad: ‘A noble squire of great
renown desired a lovely maid’. The company joins in the refrain, enjoying the
tale. The maid in question seems to play along but in the end the squire gets
his come-uppance.
Simon returns to the wintry theme, and muses that life is like the passing of
the seasons and, as winter approaches, it is time to reflect on vain ambitions
for fame or luxury. His verdict is: ‘Only virtue lasts’. This leads into the finale.
Simon proclaims: ‘Then dawns that morn so glorious when God the Almighty
gathers us.’ A double chorus with soloists gives a vision of heaven as the final
destination. One chorus asks questions about who is worthy to enter, and the
other chorus gives a series of answers: ‘The man whose life was incorrupt.
The man whose lips spoke only truth. The man who helped the poor and
weak.’ The final plea from all singers is: ‘Direct us in Thy ways and make us
strong and brave, then we shall ascend into the glorious heavenly realm.’
Jennifer DayRebecca Bottone (soprano)
Rebecca Bottone was born in Bedfordshire and
studied at the RAM.
Recent engagements include a WNO tour to Hong
Kong with Pelléas et Mélisande Welsh National
Opera, concerts with the Karlsruhe Festival, Clorinda
La Cenerentola and Mabel The Pirates of Penzance
(Scottish Opera), recording Amor in Gluck’s Orfeo ed
Euridice with La Nuova Musica, Guinia in Mozart’s
Lucio Silla and Ilia in Mozart’s Idomeneo at Buxton
Opera, and a reprisal of the Olivier award-winning
production of Akhnaten at ENO in the role of Queen
Tye.
Further appearances include First Innocent in the world premiere of
Birtwistle’s Minotaur and First Niece Peter Grimes (Royal Opera House‚ Covent
Garden)‚ Cricket and Parrott in the World and USA premieres of Jonathan
Dove’s The Adventures of Pinocchio (Opera North and Minnesota Opera)‚
Blonde Die Entführung aus dem Serail (Aix-en-Provence Festival)‚ Marie in the
world premiere of Rufus Wainwright’s Prima Donna (Manchester International
Festival)‚ Amanda in Ligeti’s Le Grand Macabre and Casilda in The Gondoliers
(English National Opera)‚ Anne Egerman A Little Night Music‚ Johanna Sweeney
Todd and Carrie Carousel (Théâtre du Châtelet‚ Paris) and the Maid in Adès’
Powder Her Face and Semira in Arne’s Artaxerxes at the Linbury Studio.
Rebecca has worked with many of the world’s leading orchestras including
the Gabrieli Consort and Players; she has sung Charmeuse in Thaïs under
Eschenbach with Renee Fleming and also performed with the AAM and the RAI
Turin; the CBSO‚ the Hallé and the Manchester Camerata; St John Passion with
the Orchestra Sinfonica di Milano Giuseppe Verdi in Milan; the Philharmonia
Orchestra under Sir Charles Mackerras; and the Tonhalle Zürich under Sir Mark
Elder.
Recordings include Cis Albert Herring EMI and two Rossini roles for Opera Rara‚
Eurice Adelaide di Borgogna and Cleone Ermione. TV appearances include
BBC 2’s documentary The Genius of Beethoven and David Starkey’s Music and
Monarchy.
Future performances include Bauci Bauci e Filemone, Amore Gluck’s Orfeo and
Despina Cosi fan Tutte with the Classical Opera and concerts with the RPO,
Capella Cracoviensis and Haydn’s Creation with Zürich Opera.James Way (tenor)
Born in Sussex, tenor James Way was winner of
the 2nd Prize in the 62nd Kathleen Ferrier Awards
at Wigmore Hall. James is a former Britten-Pears
Young Artist, a laureate of the ‘Jardin des Voix’
young artists programme of Les Arts Florissants,
and holds an Independent Opera Voice Fellowship.
Photo: Ben McKee
Rapidly gaining recognition in the Baroque
repertoire, James was awarded the Rising Stars
prize by the Orchestra of the Age of Enlightenment,
with whom he has performed Jupiter in Handel’s
Semele under Christophe Roussett and Haydn The
Creation under Adam Fischer.
Opera credits include his debuts with Staatsoper Berlin in Purcell’s King Arthur
(Akademie für Alte Musik Berlin and René Jacobs); and with the Philharmonia
Orchestra and Jakub Hrůša in the role of the Holy Fool/Boris Godunov at
the Royal Festival Hall; the Ballad Singer (Owen Wingrave) for Aldeburgh
and Edinburgh International Festivals, and several roles at Garsington Opera
including Davy in Roxanna Panufnik’s Silver Birch. This season James debuts
the role of Sellem in a worldwide tour of The Rake’s Progress under the baton
of Barbara Hannigan.
Recent concert highlights include Vaughan Williams’ Serenade to Music
with the BBC Symphony Orchestra (Last Night of the Proms), the title role in
Handel’s Samson with the Dunedin Consort, the title role in Acis & Galatea
with William Christie and Les Arts Florissants, the world premiere of Périple
d’Hannon by Arthur Levandier with L’Orchestre de Chambre de Paris, and the
European premiere of Ross Harris’ FACE with the BBC Symphony Orchestra,
with whom he performs Berlioz Les nuits d’été in 2019 conducted by Douglas
Boyd. This season and beyond James joins notable ensembles including a
Messiah tour with Les Arts Florissants, Bach’s St Matthew Passion (Evangelist)
with RTÉ National Symphony Orchestra, performances and recordings of
Purcell’s King Arthur and The Fairy Queen with the Gabrieli Consort and
Players, Vaughan Williams’ Symphony No. 3 with the CBSO under John
Wilson and Handel’s Il Trionfo del Tempo e del Disinganno (Tempo) with the
Freiburger Barockorchester under René Jacobs.Milan Siljanov (bass-baritone)
Milan Siljanov is currently a member
of the ensemble of the Bavarian State
Opera. A Samling Artist, he trained
on the prestigious Guildhall School of
Music & Drama Opera Course under
the tutelage of Prof. Rudolf Piernay.
He is the recent winner of Second
Prize and the Audience Prize at the
67th International ARD Competition in
Munich. In 2015, he was awarded First
Prize at the International Wigmore
Hall Song Competition in London.
Recent engagements include Cilea’s
Adriana Lecouvreur at the Verbier
Festival under the baton of Valery
Gergiev, Beethoven Symphony No.
9 with Orchestre de Chambre de
Lausanne with Joshua Weilerstein and
Haydn’s Nelson Mass with Orchestre
National de Lyon with Omer Meir Wellber.
Highlights of the 2018/19 season include Winterreise at the Cambridge Music
Festival, Haydn’s Nelson Mass at Staatskapelle Dresden under the baton of
Omer Meir Wellber, a celebration of Carl Loewe with the Internationale Hugo
Wolf Akademie at the Staatsgalerie Stuttgart, and recitals at the Oxford Lieder
Festival and Wigmore Hall with pianist Nino Chokhonelidze.
Starting his first season in the ensemble of the Bavarian State Opera, Milan
will perform the role of Antonio in Le nozze di Figaro, Nachtwächter in
Die Meistersinger von Nürnberg, Čekunov in From the House of the Dead,
Montano in Otello, Peter Besenbinder in Hänsel und Gretel, Sprecher in Die
Zauberflöte, Schaunard in La bohème, and Ein Cappadocier in Salome.
Cambridge Philharmonic is grateful to Paddy Smith for sponsoring Milan
Siljanov in tonight’s concertTimothy Redmond (Conductor)
Timothy Redmond conducts opera
and concerts throughout Europe and
the US. He is Professor of Conducting
at the Guildhall School of Music and
Drama, Music Director of the Cambridge
Philharmonic and is a regular guest
conductor with the London Symphony
and Royal Philharmonic Orchestras.
He has appeared in the UK with the
BBC orchestras, the Birmingham
Contemporary Music Group, Britten
Sinfonia, City of Birmingham Symphony
Orchestra, English Chamber Orchestra,
Hallé, London Philharmonic Orchestra,
the Philharmonia, Royal Liverpool Philharmonic Orchestra, Sinfonia Viva
and the Ulster Orchestra. He also has a long-standing association with the
Manchester Camerata. He has conducted widely throughout Europe and
the US with orchestras including the St Louis Symphony, Filarmonica Arturo
Toscanini, Concerto Budapest, Orchestra della Svizzera Italiana and the
Rotterdam Philharmonic.
Timothy Redmond is well-known as a conductor of contemporary music and
has a particular association with the music of Thomas Adès. Since working
closely with the composer for the premiere of The Tempest at Covent Garden,
he has conducted critically-acclaimed productions of Powder Her Face for
English National Opera, Irish National Opera, the Royal Opera House and St
Petersburg’s Mariinsky Theatre. He recently gave the Hungarian premiere of
Totentanz, the Irish premiere of Living Toys and assisted the composer for the
New York premiere of the Grammy-award winning production of The Tempest
at the Metropolitan Opera.
In the opera house he has conducted over 70 productions for companies
including Opera North, English National Opera, English Touring Opera and
Almeida Opera. He gave the world premiere of Peter Ash’s The Golden Ticket
for Opera Theatre of St Louis and for Independent Opera at Sadler’s Wells
he conducted the UK premieres of Vosček’s Biedermann and the Arsonists
and Hartmann’s Simplicius Simplicissimus. He has conducted productions in
Bregenz (Austrian premiere of Richard Ayres’ The Cricket Recovers), Tenerife(Glyndebourne productions of Carmen, Gianni Schicchi and Rachmaninov’s The Miserly Knight), Los Angeles (Barber’s A Hand of Bridge) and Wexford (The Silver Lake). He has also conducted opera for New York’s American Lyric Theater, at the Buxton and Aldeburgh Festivals and as a member of music staff at De Vlaamse Opera, Strasbourg, Garsington and Glyndebourne. His recordings include Alison Balsom’s album Paris with Guy Barker (Warner Classics), Dreams with Ophélie Gaillard and the RPO (Harmonia Mundi), discs with Natasha Marsh and Mara Carlyle for EMI and CDs with the LSO, Royal Northern Sinfonia and Philharmonia. This season he conducts the world premiere of Roberto Rusconi’s Dionysos Rising in Italy, Gluck’s Orfeo ed Euridice in Oxford and he returns to Irish National Opera for a new production of Madama Butterfly. He gives concerts with the Britten Sinfonia, CBSO, LSO and Macedonian Philharmonic, makes debuts with the Royal Scottish National Opera and the Winston Salem Symphony, he returns for more concerts in the My Great Orchestral Adventure series at the Royal Albert Hall and he records a new disc of Jonathan Dove’s orchestral music with the BBC Philharmonic. Timothy Redmond studied at the Royal Northern College of Music, Manchester University and the Accademia Musicale Chigiana in Siena. He furthered his studies in masterclasses with George Hurst, Ilya Musin, Yan Pascal Tortelier and Pierre Boulez and as an assistant to Elgar Howarth, Valery Gergiev and Sir Colin Davis.
Paula Muldoon (Leader)
Paula Muldoon is a multi-talented violinist,
software engineer, writer and composer based
in Cambridge, UK. She has a distinguished
performing career, having played with many of
the world’s greatest ensembles and conductors,
including the Orchestre Révolutionnaire et
Romantique (ORR), the London Symphony
Orchestra (LSO), the Philharmonia Orchestra,
the Orchestra of the Age of Enlightenment,
Andris Nelsons, Sir Simon Rattle, Sir John Eliot
Gardiner, Marin Alsop, and Esa-Pekka Salonen.
Highlights of her performing career include a stint as guest leader of the Xi’an
Symphony Orchestra, recording Mendelssohn’s Lobgesang with Sir John Eliot
Gardiner and the LSO, and numerous film recordings at Abbey Road. In 2018
she performed in Carnegie Hall with the ORR and in May 2019, as part of her
inaugural season as leader of the Cambridge Philharmonic, she will be the
featured soloist in Richard Strauss’ Ein Heldenleben.
In 2017 Paula retrained at Makers Academy as a computer programmer and
now combines violin performance with her career as a software engineer
at Cambridge Cognition. She is a sought-after speaker in the programming
community, having given talks at conferences, workshops and meet-ups in
London, Cambridge and Madrid.
Paula composes music for solo violin, which she shares with her community
on Patreon (patreon.com/FiddlersCode) as well as in recitals and at
programming conferences. Her most recent pieces include Woman (sonata
in 4 movements) and Cape Cod the Beautiful, a nod to her hometown of
Falmouth, which was also the home of Katherine Lee Bates, lyricist of America
the Beautiful.
A keen writer, Paula blogs on music, code and mindfulness/mental health. In
her spare time, she enjoys reading, crocheting, Star Trek, cryptic crosswords,
and drinking good coffee.Cambridge Philharmonic Orchestra
Violin 1 Viola Flute Trumpet
Paula Ruth Donnelly Adrienne Kelly- Andrew Powlson
Muldoon(leader) Sophie Channon Jackson Laureen Hodge
Kate Clow Mari O’Neill Samantha Martin Naomi Wrycroft
(co leader) Jo Holland Alison Townend
Alto Trombone
Alice Ruffle David Yadin Cynthia Lalli
Phil Cambridge
Eleanor Winpenny Robyn Sorenson
Oboe Tenor Trombone
Anne McAleer Anne-Cecile
Rachael Dunlop
John Richards Dingwall Denise Hayles
Katy Shorttle
Hilary Crooks Jeremy Harmer Bass Trombone
Tom Gillam
Sarah Ridley Dominic de Cogan Gary Davison
François Guérit Agata Wygnanska Clarinet
Ariane Stoop Graham Dolby Timpani
Cello Roger Fuste Dave Ellis
Abigail Tan
Joshua Lynch
Viola Hay David Hayton Fortepiano
Rachel Twomey
Francine Maas Joseph Greaney Edward Reeve
Daniel Grace
Violin 2 Angela Bennett Bassoon
Naomi Hilton Linda Hindmarsh Neil Greenham
Emma Lawrence Hartmut Kuhlmann Simon Bond
Margaret Scourse Catherine Wilson Ruby Collins
Jo Cumberbatch Lucy O’Brien Contrabassoon
Debbie Saunders Clare Gilmour Ruby Collins
Imogen Poole Helen Davies
Sean Rock Isabel Groves Horn
Jenny Barna Helen Hills Carole Lewis
Rebecca Forster Tony Hawkins
Double Bass George Thackray
Katy Rose
Tony Scholl Chris Wykes
Alan Bowman
Stephen Beaumont
Susan Sparrow
John RichensCambridge Philharmonic Chorus
Soprano 1 Jan Littlewood Bass 1
Amanda Bouskill Alice Parr Chris Coffin
Jane Cook Alison Russell Bill Curtis
Susan Earnshaw Sarah Upjohn John Darlington
Agnes Heydtmann Alison Vinnicombe Brian Dawson
Ros Mitchell Helen Wheatley Chris Fisher
Jan Moore Anne Willits Andrew Foxley
Val Norton Joanna Womack Lewis Jones
Caroline Potter Margaret Wilson Roger McClure
Amanda Price Alto 2 Harrison Sherwood
Susan Randall Margaret Cook Mike Warren
Mary Richards Helen Cross Bass 2
Josephine Roberts Alice Daly Richard Birkett
Sheila Rushton Jane Fenton Neil Caplan
Anne Sales Jane Fleming Paul Crosfield
Paddy Smith Stephanie Gray Dan Ellis
Linda Stollwerk-Bolton Susan Jourdain Max Field
Diana Sutton Anne Matthewman Patrick Hall
Soprano 2 Lynne McClure Christopher Joubert
Cathy Ashbee Sue Purseglove Gideon Williams
Eleanor Bell Chris Strachan
Anthea Bramford Oda Stoevesandt Chorus Masters
Joanne Clark-Wood Tenor 1 Mark Austin
Jennifer Day David Griffiths Tom Primrose
Christine Halstead Aviva Grisby Chorus Accompanist
Gertrud Hill Jean Harding Andrew Black
Maggie Hook Tim Holmes
Diana Lindsay Assistant Conductor
Ian Macmillan
Suzie McCave Jan Moore
Chris Schaefer
Ann Read Peter Scholten
Pip Smith Graham Wickens
Sheila Stevens John Williams
Ann Taylor
Catherine Warren Tenor 2
Aidan Baker
Alto 1 Martin Ballard
Elizabeth Anderson Jeremy Baumberg
Justine Bashford Geoff Foster
Helen Black Andy Pierce
Alexandra Bolton Stephen Roberts
Caroline Courtney Martin Scutt
Alison Dudbridge
Elaine Fulton
Jean Gulston
Rachel HaynesCambridge Philharmonic Supporters’ Scheme
The Cambridge Philharmonic is a We would especially like to thank the
charitable organisation and has to be following for their continuing support:
fully self-supporting. Our main sources
of revenue are ticket sales, membership Principal Patron
fees and the generosity of Cambridge Bill Parker
Philharmonic Supporters, who include
businesses, trusts and individuals who Patrons
share our vision and whose support we
gratefully acknowledge.
The Cambridge Philharmonic Supporters’
Scheme is open to all and is intended
to give music lovers an opportunity
to become more closely involved with
the Cambridge Philharmonic and its
objectives. We cater for various levels
of support and in return offer a range
of benefits. These include an advance
copy of our season brochure allowing
preferential booking, acknowledgement
on the Cambridge Philharmonic website
and in newsletters, invitations to open
rehearsals and the opportunity to Principal Benefactors
sponsor a concert.
The funding we receive through the
Supporters’ Scheme is vitally important.
John Short and Debbie Lowther
It allows us to be more ambitious with
our programmes, to engage leading
Benefactors
musicians to work alongside our largely
Edward and Gillian Coe
non-professional membership, and to
Rob and Janet Hook
continue to attract the enviable roster of
Paddy Smith
world-class soloists who perform with us
every season.
Donors & Friends
For information about becoming a Emmanuel College
Cambridge Philharmonic Supporter or to Trinity College
find out about concert sponsorship write St John’s College
to: chairman@cam-phil.org.uk Churchill College
Pembroke College
Cambridge Philharmonic Society Gerard and Margaret Chadwick
Registered Charity 243290 Nicholas Sayer
www.cambridgephilharmonic.comCambridge Philharmonic
Forthcoming Concerts
Saturday 18 May 2019 West Road Concert Hall
Schreker: Prelude to a Drama
Shostakovich: Piano Concerto No 2
Strauss: Ein Heldenleben
Sunday 19 May 2019 West Road Concert Hall
Family Concert: The Pelicantata
Saturday 6 July 2019 Saffron Hall, Saffron Walden
Verdi: Requiem
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/CambridgePhil @Cambridge_Phil
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